Research Point one

I’ve been a bit caught up with other stuff – Ukulele workshop and creating an Ebb and Flow quilt for the quilt show but I need to get back to OCA work. This is the first research point exploring yarn.

lurex.com Viewed 29 Jan 2018

I used to shy away from sparkly fabrics because I didn’t like the idea of metal in the yarn. Not sure if that is actually the case but interestingly on the Lurex web site I could not find out the composition. Trade secret I guess. Anyway I’ve had to come to grips with shine a bit in my ebb and flow quilt which called for sheers. Not lurex as such but I used sparkly nylon organza and tulle which dyed very well in the nylon with Landscape dyes and allowed me to overlap colours in an attempt to make a third colour. It was very stiff and scratchy though, especially after it had been heavily stitched, so I’ll be exploring tissue silk next. I have ordered a 3 mm silk gauze which I hope will be see through enough after dyeing.

Anyway that is a side thought. I didn’t learn that much from the Lurex site other than they have been around for quite a while and that the old video of the models shows the models looking much healthier and happier than the contemporary photos. They did talk about GIMP yarns which are yarns that have Lurex wound around a central core. This is what I’m effectively doing as I’m spinning fibre with a central thread. They did talk about having the core partially showing to change the effect. I have yarn like that with a cotton core and a thin polyester outer thread. It creates an interesting yarn with bobbles of cotton colour showing through the thin black thread. One thing I noted when knitting up with this sort of yarn is that it obscures the knit stitches and creates its own interesting texture. So no good if you are doing a fancy pattern to introduce texture, but good if you like the texture it creates itself.

Wikipedia tries to help with the composition of Lurex but says different things. It could be a core with metal fumed on, or it could be a metal filament with a coating.

http://www.lurex.com/Inspiration Viewed 29 Jan 2018

Pretty weird cut and paste image but I like the way the light on the fabric is forming its own pattern.

26 Feb 2018

Not really yarn but I’m going to look at Stone paper here.

This beautiful leaf print was done by my stepmother, Sandra Lacey, on stone paper. Stone paper is made from calcium carbonate from rocks and some sort of plastic binder.

It is really smooth with a low grade shine and very tough. It can’t be torn, only cut, and it combines the stiffness of paper with the flexibility of plastic in a material that feels almost cool and wet to the touch. Because of it’s inability to be torn I’ve found that I can use it for applications not usually associated with paper, like sewing and some of the yarn making explorations. It has a bit of a stretch to it as well and holds it’s folds and creases well. I’ve heard that it can’t be ironed but I did iron it under a cloth with no adverse effects. I was hoping to try and see if I could texturise it with a bit of heat but that didn’t happen at that heat. I will try with a heat gun at some stage. When I used a heat gun on yupo (synthetic paper) it quickly deformed and melted it, which could be used to some advantage I guess. Stone paper is waterproof and completely non absorbent. The plant print above adheres well but does come off on fingers a bit. I haven’t experimented with it with traditional drawing materials like charcoal and graphite, but I will do that in my drawing unit at uni. I suspect that it marks the paper but like using yupo it may wash or rub off. I found with yupo that I could rub in pastel and it would become more permanent. I will try with stone paper which I suspect has slightly more tooth than yupo.

Here I have sewn some dyed shreds of silk gauze on to a background of stone paper. Even with heavy stitching it doesn’t tear through and the needle just glides through it. I have now sewn this on to a pair of pants as a pocket, to put it through the wash and further test its resilience.

This is the back and you can see the stitch holes but they mostly don’t tear through. It provides a nice white background to gauze fabric too, and has retained enough flexibility for heavy clothing, pants, skirt or vest.

Below is from http://www.stonepaper.co.nz/about-rockstock Viewed 26 Feb 2017

About Rockstock

Rockstock is a revolutionary breakthrough in papermaking technology.

HERE’S WHY WE ARE EXCITED ABOUT ROCKSTOCK

Rockstock is the registered trade-name of a ground-breaking high quality, coated paper with outstanding environmental values that prints extremely well using standard inks.(No special inks are required.)

It can be used in most situations where conventional and synthetic paper is used and offers exceptional printing, water proofing and tear resistant qualities. Rockstock claims to be the world’s most environmentally friendly paper.

▪ It is manufactured from ground down waste stone and offcuts used in the building industry.  It contains no wood fibre.

▪ Rockstock has a low carbon emission

▪ It uses significantly less energy to produce than wood fibre paper.

▪ It generates no effluent in its manufacture.(water borne, airborne or solid)

▪ It requires no water,acid, base or bleach during production.

▪ Any trimmings or waste paper from production are recycled to make new paper.

▪ It is both  recyclable and photo-degradable (It is not bio-degradable as it dioes not attract insects or organisms to consume it.)

▪ Compostable (Commercial) where sufficient heat is present to leave only calcium carbonate.

▪ 2 main product ranges 1. S-Class (Sustainable Range) 2. R-Class (recycled range).

Sometimes confused with synthetic paper, Rockstock is neither synthetic nor pulp or fibre based and is termed “Rich Mineral Paper”. Rockstock has qualities of both  pulp and synthetic papers, but more importantly it is much more environmentally friendly than either of the two. The printing qualities and exclusive feel make Rockstock a paper product not seen the likes of previously.

Due to its absorbency attributes, it has superior handling and printing qualities.

It is also water, mist, grease, anti-moth and insect proof*, freezer grade.

Certain products can be heat sealed.

Being foodgrade,  Rockstock STN thermoforming boards are suitable for thermoforming food trays, containers and other packing items.(400-700micron.

Rockstock RPD will aslo”in-mould” label with great printed results.

Rockstock has unusual physical strength and high fold durability.

In addition of up to 81% ground-up mineral waste or CaC03, Rockstock contains a small amount of a non toxic photo-degradable PE resin.

Available in weights ranging from 20 microns  through 700microns in a wide variety of product options.

100/120/140/160/180/200 micron RP paper range

200/250/300/350/400 micron RB Board range

80/90/100 LRD low density range (density 0.8/0.9/1.0/1.1

80/90/100 LPD low density range (density 0.8/0.9/1.0/1.1

20-40 micron Supermarket singlet bags. Rockbag is a range of Singlet bags, bin liners, Trash sacks and Carry bags  made  from different versions of stone paper.

50/80 micron SP range

400/500/600/700 micron STN Thermoform range.

Rocktak is a self ahesive version of RPD stone paper.

Rocktherm DT and Rocktak DT are Direct Thermal versions of Rockstock.

1(*Note: If used for acidic foods Rockstock products with a eg. PE film barrier may be advised).

2(*Note: moth and insect proof by nature of the fact that insects, moths and organisms will not eat or degrade the stone product, rather than some deterrent characteristic or chemical. Hence it is not biodegradable but photo-degradable. To be biodegradable, insects or organisms  need to be able to eat/break down the product. Instead the suns strong UV will after  1 year for paper and 3 years for board in full sun, photo degrade Rockstock back to stone powder ). This is a much cleaner process rather than organisms consuming  doubtful substances in the food chain.

3(Note: Not suitable for Laser Printers or Photocopiers where extremely high heat is generated as this may distort the sheet)

What is Rich Mineral Paper (Rockstock)?

Rich Mineral Paper (Rockstock) is neither pulp nor synthetic made paper. Rich Mineral Paper is a combination largely (80.9%) of mineral powder (Calcium Carbonate) with a small amount (18%approx) of a non-toxic, recyclable, compostable, photodegradable resin (PE) to create an extremely environmentally friendly paper. Boards and other rockstock Products may have different proportions of Stone powder and resin to achieve different performance.

Due to this unique make up, Rich Mineral Paper (Rockstock) is made with minimal consequences to the environment. Not only is Rich Mineral Paper (Rockstock) a “Tree-Free” product, but also does not require water or use of fossil fuel as part of production. This break through product does not require bleach, or use strong acid to lighten or break down the components used to produce the Paper.

As a result the mills have been able to achieve something that no pulp based paper mills have been able to achieve. Rich Mineral Stone Paper mills create no air pollution, no toxic run off and no water pollution. No acid, base or bleach. No Halogens or phalates.

Most of all, it is so rewarding that Rich Mineral Paper does not require the harvesting of trees to produce the many varied products!

Calcium carbonate is an exceptional compound. The chemical formula CaCO3 stands for a raw material that exists everywhere in nature, dissolved in rivers and oceans, melted as “cold” carbonatite-lava and solidified as a mineral, dripstone or as parent material for whole mountain ranges.

Plants and animals need calcium carbonate to form their skeletons and shells, and even modern mankind could hardly imagine life without calcium carbonate. Almost every product of our day-to-day life contains calcium carbonate or comes into contact with it while being produced.

What is Calcium Carbonate?

Calcium carbonate accounts for more than 4% of the Earth’s crust. As a result, the three calcium carbonate minerals – calcite, aragonite and vaterite – are among the most important rock-forming minerals. And rocks are not the only calcium carbonate deposits in nature. Almost all stretches of water and countless plants and animals contain huge amounts of calcium carbonate as well. These natural resources are linked by the calcium carbonate cycle.

Plants and animals absorb calcium carbonate in water, where it exists in most cases dissolved in the form of calcium hydrogen carbonate Ca(HCO3)2, and use it to build up their skeletons and shells. After their death, mussels, coccoliths, algae and corals form sedimentary deposits on sea-beds. And the rock forming process is set in motion.

The first stage is the sedimentation process, from which chalk and limestone originate. Chalk is a poorly compacted sedimentary calcium carbonate rock, whose diagenesis is incomplete.

A completed sedimentation process results in the formation of limestone. If the sedimentation process takes place in magnesium containing water, a dolomitization may result. Part of the calcium ions in the crystal lattice are replaced by magnesium ions, leading to the formation of dolomite

CaMg(CO3)2.

Marble is a metamorphic rock resulting from the recrystallisation of limestone under high pressure and temperature. Whether chalk, limestone, dolomite or marble, all carbonate rock is subject to erosion. It dissolves under the influence of wind, temperature and water, and the cycle is ready to start anew.

The World of Calcium Carbonate

Calcium carbonate rock occurs throughout the world and is readily available. This explains why it has been among the most widely used raw materials for more than 5,000 years. The Ancient Egyptians built their pyramids out of limestone. However, the mining of industrial minerals is possible only in a few deposits world-wide. Extraction is only worthwhile if the purity, whiteness, thickness and homogeneity of the stone is appropriate, and even then intensive treatment is necessary to process top quality natural calcium carbonates (ground calcium carbonate (GCC)). Precipitated calcium carbonate (PCC) is a synthetic calcium carbonate, which in most cases is produced industrially by means of recarbonization.

Information about Calcium Carbonate from: www.omya.com

What are Coccolithophores?

What are Coccolithphores? Tiny coccolithophores have had a big impact on the planet over time. Though they are single-celled, these photosynthesising organisms are enclosed in a mosaic, or  cage, of microscopic plates that make many very beautiful to look at. The plates are made of calcium carbonate, which the coccoliths pull from the surrounding water. As these small organisms live and die in their trillions, they bequeath their tiny plates to the ocean floor where they form rocks such as chalk and eventually marble. Over geological time, coccoliths have removed significant amounts of the greenhouse gas carbon dioxide from the atmosphere, helping to keep Earth cool as the sun grew hotter.

Rebecca Baumann

When I was in the city heading to the Japanese Grocery store I noticed a colour artwork high on the wall in the mini shopping mall of Trafalgar Place.

As I was thinking about colour for this unit I photographed the work and went to the internet to find out it was by an artist called Rebecca Baumann.

On her website rebeccabaumann.com Viewed 31 Dec 2017 there is an article about this type of artwork which is called Automated Colour Field

http://rebeccabaumann.com/content/4.Text/7.Cavaniglia,-Consuelo,-‘Automated-Colour-Field’,-essay-from-NEW11-exhibition-catalogue,-2011.pdf

In this article Cavaniglia discusses Rebecca as having researched the connections between colour and emotion, and an artwork like this is referred to as describing a ’24 hour emotional cycle’. Each little colour chip flicks over every minute or so creating a constantly changing interplay between colours.

Robert B Mitchell

Collage artist from Australia that spent time in the UK and Canada, before returning to Australia for retirement and to work on art works that included collages with techniques that he called ‘interweaving’ – the combination of textile, paper and other mixed media in full colour imagery.

http://www.robertmitchellartist.com.au/12.html             Link Viewed 14 December 2017. Contains imagery and information about this artist.

Suns and Moons

Thinking of the above as a simple colour collage. Fairly clear delineation of primary vivid colour. Probably actually also simplified by black background

Dreams in Space No 2, 1982-5,
Mixed Media
.

And this is perhaps a more complex colour combination. At this small size on the computer there is blending of colour to make a more brown appearance, but this is actually quite a large scale work I understand, and there are bright colours and unusual juxtapositions within it.

Here are a couple from the Art Gallery of NSW

https://www.artgallery.nsw.gov.au/collection/works/10.1988/?tab=shop Viewed 14 Dec 2017

Better quality images than above but similar comments apply. No death date is given above but it seems he died in 2002.

Research Point 2

Adobe Capture:

This was a really exciting find. Link 10 led me to this app which I can use with my adobe account. It is an app for creating colour palettes (as well as lots of other things) and I started by using the internet version of it to try and capture the colours of the outback from my memory.

I was really happy to find that I could change the colours in to a CMYK format, as I wonder if this could help me mix the colours myself in dye or paint. I have been trying to mix colours based on a six colour system of warm and cool primaries with moderate success, but don’t really understand why the four colour system of cyan, magenta, yellow and black is not used for mixing paint. It is the printmaking standard and obviously can make a big range of colours for use in printmaking. I’d like to try doing that and I could use printing primaries in screen printing ink to try. I’d also like to try it with dye.

I then discovered that I could take a photo on my camera and use the app to try and analyse the colours in it. I have been trying to edit photos in the field to match the colour on the camera whilst I have the landscape in front of me, but I’m not sure whether the limitations of the screen match the data input. I understand from speaking to a man in a camera shop, that you can get a tool, like a calibrator I guess, that can match your screen on the computer to the printer profile that the camera shop uses and then should be able to print accurately.

But at least this adobe capture app can get you in the right ball park for the breakdown of colours in your photo, and I’m excited to try and mix the colours using CMYK suggestions. I’m not sure if this tool allows you to vary the number of colours or create a weighted palette with different amounts of each colour and that does limit things a bit but for my purposes I can create a number of palettes to combine in my work if necessary.

Here is my first go at outback palette which I am trying to develop for my quilt show quilt. I was surprised to find that there is not the strength of green in the photo that my eyes are seeing. I often find that my palettes are much too primary and maybe I impose my own perceptions on the actual colours I am seeing. For example I see green in this photo because in my mind trees are shades of light and dark green close up. But in this landscape view the app tells me that this is not the case and that the trees are much more brown and gold. It makes a more harmonious palate than the one I created from memory above.

And here is the breakdown into CMYK

This is taken from my photo of the greenish lake at Mount Gambier, which I was using to contrast with the famous Blue Lake there. I spent a lot of time trying to match the colour in my lake photo with a puddle of watercolour and it was very difficult. I hope to use the CMYK breakdown to try again and see if it makes it easier. One thing I don’t fully understand is the role of white. The colour wheel seems to suggest there is “white” with the dots placed towards the centre of the wheel, but I guess this really just represents the density of paint/ink in relation to the white substrate. So in watercolour it would equal water and in screenprinting ink it would have to be clear or white print paste without pigment. For dye it means a higher water to dye ratio, or really just less dye related to substrate. In painting it could be achieved by actually adding white. This is what I did with my watercolour which did also provide a white pigment. It gave an opacity to the watercolour which suited the lake colour.

I’ve done a number of colour matching studies with the green and blue lake photos and I will write them up and include them in the blog soon.

Finally Adobe Capture allows you to play with patterns based on your own photos. This is a manipulation of a photo of one of my glass watercolour studies.

Has great potential for designing my own quilts with unique patterns and colour palettes

Valerie Goodwin

Valerie Goodwin is a quilt artist inspired by mapping and architectural forms, which she abstracts and uses to create what is essentially a fabric collage. 


Viewed 9 December 2017

I was attracted to the apparent complexity in this quilt which appears to have been created by applying lots of small fabric pieces to the background. This suggested to me that I may be able to create my ‘complex’ paper collage in a similar fashion with smaller areas of colour interacting with each other, and lots of detail. It also highlights how you could move fairly seamlessly from collage with paper to collage with textile. 

Farnaz Jahani

The Interrupted Beauties   Viewed 23 November 2017

This visual artist comes from Iran but now lives in the US. She employs surface design in her work and cuts and compresses work to create some degree of ‘accidental aesthetic’. 

The idea is to represent the vagracies of life and its fractured path. 

As I am doing the colour section of this unit I’ll comment on the colour use in the above work. 

The use of a quite bright and pure tone palette of blue, red and green contrasts with the background brown and serves to highlight the broken lines down the work. It results in an imperfect irregular edge not unlike the Ikat weaving in my kimono.